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Trulli- Kuppelarkitektur I Puglia

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Trulli- Kuppelarkitektur I Puglia Marit Lundesgaard Trulli- Kuppelarkitektur i Puglia En undersøkelse av form og opprinnelse Masteroppgave i kunsthistorie Institutt for filosofi,idè- og kunsthistorie og klassiske språk Universitetet i Oslo Høsten 2007 FORORD 6 KAPITTEL 1............................................................................................................................... 7 PRESENTASJON OG AVGRENSNING. 7 FORSKNINGSHISTORIEN. 9 KAPITTEL 2............................................................................................................................. 11 HISTORIKK 11 BOSETNINGER ............................................................................................................................. 14 STEINKONSTRUKSJONER I PUGLIA. 15 MENHIR OG DOLMEN................................................................................................................... 16 SPECCHIE..................................................................................................................................... 18 TRULLI ........................................................................................................................................ 20 TYPOLOGI TRULLI. 21 CASELLE...................................................................................................................................... 23 CHIPURO...................................................................................................................................... 24 TRULLO ....................................................................................................................................... 25 2 TRULLIKOMPLEKS FRA CISTERNINO ........................................................................................... 25 ”MASSERIE” OG ”CORTI”............................................................................................................. 26 ALBEROBELLO............................................................................................................................. 27 IL TRULLO DEI ” FRATELLI SIAMESI A RIDOSSO” ........................................................................ 28 LA CANTINA DEL MYLORD ......................................................................................................... 29 TRULLO SOVRANO OG LA CASA D’AMORE. ............................................................................... 29 TRULLIARKITEKTUR, TEKNIKK OG FORM. 31 KONSTRUKSJON........................................................................................................................... 31 GRUNNARBEID, GULV OG SISTERNE............................................................................................ 31 BÆREVEGGENE ........................................................................................................................... 32 SISTERNE ..................................................................................................................................... 32 INNGANG OG ÅPNINGER .............................................................................................................. 33 KUPPELEN ................................................................................................................................... 33 PINNACOLO ................................................................................................................................. 34 SYMBOLER OG TEGN. .................................................................................................................. 36 KAPITTEL 3 ANALYSE......................................................................................................... 40 3 ANALYSE AV KONSTRUKSJONEN. 40 KUPLER OG HVELV ...................................................................................................................... 41 KOMPARATIV ANALYSE AV ARKITEKTUREN. 42 MEGALITTKULTUR. ..................................................................................................................... 42 MONUMENTALBYGG ................................................................................................................... 42 KUPPELGRAVER .......................................................................................................................... 49 TERRASSEBYGG........................................................................................................................... 51 EUROPEISK PYRAMIDE ................................................................................................................ 51 BOLIGHUS 53 VAUCLUSE, FRANKRIKE.............................................................................................................. 54 HEBRIDENE.................................................................................................................................. 54 TYRKIA OG SYRIA ....................................................................................................................... 55 PRIMITIVE KUPPELHYTTER 55 IRLAND OG SKOTTLAND.............................................................................................................. 55 SVEITS, KROATIA, SARDINIA, FRANKRIKE, SPANIA ................................................................... 56 KOMPARATIV ANALYSE AV SYMBOLER OG TEGN. 56 4 PINNACOLI................................................................................................................................... 56 KALKEDE TEGN ........................................................................................................................... 59 HISTORISK RELIGIØS SAMMENHENG ........................................................................................... 60 KAPITTEL 4............................................................................................................................. 62 FOLKEGRUPPER. 62 KULTURELLE FAKTORER. 68 SPRÅK.......................................................................................................................................... 71 RELIGION..................................................................................................................................... 72 LANDSKAP. 73 LE MURGE................................................................................................................................... 73 KAPITTEL 5 76 DRØFTNING. OPPSUMMERING. 76 KONKLUSJON. 79 LITTERATUR 82 ILLUSTRASJONER ERROR! BOOKMARK NOT DEFINED. LISTE OVER ILLUSTRASJONER 86 5 Forord Jeg har valgt å skrive om enkle, svært karakteristiske bygg, kalt trulli, og om hvordan de har oppstått, fordi det er interessant å se på kriteriene for skapelse, hvordan form skapes, i dette tilfelle hvordan arkitektur har oppstått utefra menneskers behov. Etter en reise i Puglia i 2002 ble jeg inspirert til å finne ut mer om trulli, det var en spesiell stemning i hele dette området som gjorde meg nysgjerrig. Byggene er ikke er skapt av arkitekt, men stilen oppstått på bakgrunn av en folkegruppes behov, både åndelige og materielle, og utefra deres visjoner. Takk til veileder, Einar Petterson, for at du trodde på prosjektet, og hjalp meg på vegen. Takk til Katti for at du holdt ut. Takk til Hanne Sæthren Mostafa for support! Takk til Ingvild Lundesgaard Pagliara for inspirasjon. Og takk til venner og familie som har måttet være tålmodige. Oslo. November 2007 6 Kapittel 1 Presentasjon og avgrensning. .. Kuppelhusene, kalt trullo, flt. trulli, er en type folkelig arkitektur som eksisterer i Puglia i Sør Italia. Med folkelig arkitektur menes arkitektur som har oppstått uten arkitekt, en levende byggetradisjon som går i arv. Trulli kan klassifiseres i ulike typer som har forskjellig navn, men karakteristisk for alle er at de har kuppeltak, og at kuppelen er konstruert i overkragingsteknikk, en selvbærende steinkuppel bygget uten mørtel. Byggene finnes både utover landet og i by. Den eldste eksisterende trullo er datert til 15591 men spørsmålet om de har røtter tilbake til prehistorisk tid, antagelig bronsealder (3000-1000 f. Kr), er reist blant forskerne Også om byggetradisjonen har vært kontinuerlig eller om den er gjenopptatt i senere tid er usikkert, samt om byggeskikken er importert utenifra. Spørsmålene vil forsøkes belyst gjennom oppgaven. Oppgaven belyser hovedsakelig arkitekturen, men omhandler i noen grad symbolske tegn som kalkes utenpå kuplene. Hovedspørsmålet blir da å se på: A. Opprinnelsen til disse kuppelbyggene. Spørsmålet kan inndeles i flere problemer: 1. Arkitekturen har oppstått på stedet i prehistorisk tid og gjenomgått en utvikling. 2. Arkitekturen er importert utenifra: - a) Fra lignende arkitektur datert samtidig med trullo. b) Fra et Østlig sentrum : Mesopotamia, Mykene, Kreta: Kuppelgraver. c) Fra Vestlige Middelhavsområde: Megalittarkitektur. d) Fra Nord Afrika.: Kuppelarkitektur. Megalittarkitektur. 3. Arkitekturen har kommet ved direkte emigrasjon til Puglia. Metode. Oppgaven inneholder en beskrivelse av steinkonstruksjoner i Puglia og en typologi over trullo. Jeg gjort en komparativ analyse v ed å sammenligne med annen lignende kuppelarkitektur. Jeg har også brukt en arkeologisk-antropologisk metode ved å se på funn og 1 Borut Juvanec, "Six Thousand Years, and More, of Corbelling Age of Stone Shelters.," (2000), http://www.unesco.org/archi2000/pdf/juvanec.pdf. 7 folkegrupper i området, og noe kulturhistorie knyttet til bruk av de symbolske tegnene. Da dette er en ” folkelig” arkitektur, eng. vernacular architecture, må metoden baseres blant annet på viten om folkegrupper. Geografisk er Puglia avgrenset mot Adriaterhavet
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